Search results

1

Druže Tito svi smo mi – ti

100%

Sorel S.

Poznańskie Studia Slawistyczne

|

2013

|

issue 5

EN

The article describes different ways of depicting Josip Broz Tito in poems which embody socialistic values. The notion of the Government relies on the idea of the abscence, and the exact abscence requires the image in order to be effective. This is the key role of poetry, which conveyed the constructs of both individual and social illusion.

2

Lalka i nieobecność. Kilka uwag o bohaterach Wampira Władysława Stanisława Reymonta

88%

Kucab M.

Dydaktyka Polonistyczna

|

2019

|

issue 5 (14)

88-100

EN

The article attempts to determine in synthetic way the most relevant spaces of choice as well as activities of the characters of The Vampire by Władysław Stanisław Reymont. Disputing with other researchers, we try to portray the characters as thespians who are subordinate to the mechanism of theatre (theatricality) as well as enmeshed with relations of dominance and exploitation (vampiric situation). Having compared the novel with selected dramas by Henrik Ibsen, we demonstrate parallels in subjects and issues that were drawn out by the dramaturgy of the epoch: illusoriness of life, lies of convention, prevalence in family as well as manipulation.

3

The Tension Between Illusion and Reality in Zhuangzi’s ‘Dream of the Butterfly.’ Philosophical Analysis of Western Reception

88%

Budriūnaitė A.

Estetyka i Krytyka

|

2014

|

issue 1(32)

138-151

EN

One of the most important allegories of Daoism is the ‘Dream of the Butterfly’ in the second chapter of the Zhuangzi (Qi wu lun). Sometimes it is supposed to be a representation of all Daoist or even all Chinese philosophy in the West. This allegory encompasses fundamental Daoist notions, such as spontaneity, ‘free and easy wandering,’ non-action (wu wei), natural self-alternation (ziran), the no-perspective of a sage and the understanding of correlation between life and death. The purpose of this paper is a philosophical analysis of the relationship between illusion and real- ity in the Zhuangzi looking from the ‘Western’ perspective. To achieve this, I will review some of the most distinct English translations of the allegory that show possible multiple meanings of the allegory and many fundamentally different, sometimes opposite interpretations of it and discuss the significance of the relationship between illusion and reality. There is a huge body of academic literature about translating and interpreting the texts ascribed to the Zhuangzi. I will mention only some of the commentaries and will pay more attention to other stories of the Zhuangzi, looking there for the explication and explanation of the main ideas found in the ‘Dream of the Butterfly.’

4

Can cigarette smoking make a man appear sexier and stronger to women?

88%

Czarna A., Szmajke A.

Psychological Studies

|

2011

|

vol. 49

|

issue 5

23-40

EN

This paper focuses on naďve theories, illusions, and misconceptions regarding the outcome of men’s cigarette smoking on female impressions. Beliefs about those outcomes were examined in a correlational study and their content was compared with the results of previous experimental verifi cation. Male and female participants (N = 396) responded to an advertisement placed on an online general-interest forum and completed a questionnaire concerning their beliefs about the impact of cigarette smoking in men on their self-presentation to women. This included impressions of attractiveness, intelligence, strength, sexiness, and other male qualities. Results show that people believe that smoking decreases a man’s perceived aptitude for being a woman’s long-term partner. The belief that smoking enhances a man’s attractiveness to a woman as a short-term partner was limited to female smokers. Non-smokers believed that smoking in men signals poor impulse-control. Gender, age, smoking status (smoker vs non-smoker), and number of cigarettes smoked daily appeared to play an important role in predicting expressed beliefs. Young female smokers were indicated as the subgroup bearing the most optimistic illusions.

5

S.N.U.F.F.: człowiek w pułapce symulakrów (postmodernistyczna koncepcja Wiktora Pielewina)

88%

Pańkowska E.

Acta Neophilologica

|

2019

|

vol. XXI/2

201-216

EN

Victor Pelevin is one of the most prominent exponents of Russian literary postmodernism. His novel S.N.U.F.F. (2011) is analyzed in this paper. Pelevin’s novel is set in the future (but the book contains many allusions and references to contempo-rary reality). As the aftermath of the collapse of the old world (after apocalyptic events) the earth has been divided into two countries (two nations): Byzantion (Big Byz) with advanced technology (where 3D simulations have almost completely replaced real life) and Urkaine whose inhabitants are called Orks and who are technologically backward. To keep the people of Byzantion entertained, the news companies periodically start wars which are filmed by CINEWS INC. Pelevin focuses our attention on mass media manip-ulation methods and techniques. The writer demonstrates that television manipulates information and produces its “own” versions of events – its “own” version of the war. This self-creation of television (“hyperreality”) has no reference to what is authentic. The aim of this article is to present and discuss relations and connections between “real reality” and “hyperreality” (virtual reality), between real emotions and their simulacra, between a “real” man and a “sura” (a surrogate woman, a human-like doll).

6

Is reality really real or is it just a colorful rainbow of sensations that we perceive as being real?

88%

Istrate V.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

|

2020

|

vol. 13

105-120

EN

The purpose of this paper is to analyse the methods which are used to mislead the public perception towards reality. I will discuss and try to determine the nature of the relationship between the language we use and the reality we create through words. The close examination of words, the correlation of different advised opinions and the study of particular aspects in language will become dominant features in this study. The linguistic relativity or the Sapir-Whorf hypothesis has as a primary concern the fact that the spoken language has an important and immediate impact upon the speaker.

7

Teresa, Giacinta i Helena – włoskie siostry Emmy, czyli „Pani Bovary” Gustave’a Flauberta w literaturze włoskiej XIX wieku

88%

Krasnopolska Z.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2018

|

vol. 49

|

issue 3

151-167

EN

Through a comparative study, the author tries to outline the differences and similarities between Madame Bovary and three 19th century Italian novels by De Roberto, Verga and Capuana along with an intertextual game the writers engage in with the French original. By a close analysis of the protagonists’ childhood, marriage/adultery, literary education and psychological disorders, the author argues that whilst Emma Bovary falls victim of her illusions, and Elena with Giacinta are only partially Mesdames Bovary, Teresa comes to realise the male power of novels.

8

Czy hipoteza Wielkiej Iluzji jest problemem dla teorii percepcji?

75%

Szymańska K.

Analiza i Egzystencja. Czasopismo Filozoficzne

|

2011

|

issue 16

27 -40

EN

An argument from illusion assumes that the illusion occurring in perception is a reason to redefine the ordinary account of perception as a direct and immediate access to reality, therefore it suffice to refute a direct realism. Many theories of perception where arisen to address the problem, the most popular ones are: the sense-datum theory, the adverbial theory, the intentionalist theory and the most recent the disjunctivist theory. Recent work in psychology and philosophy of mind on change blindness and related phenomena elicit a new skepticism about the nature of perception which is called a grand illusion hypothesis. It seems that doubts engendered by this hypothesis goes even further than those of the argument from illusion, because it suggests that subjects have a radically false beliefs about what their perceptual experience is like. I ’d like to consider the number of ways of understanding the hypothesis and evaluate them. It seems that we have tree ways of coping with the grand illusion problem: accepting the new skeptic account (Dennett, Blackmore i Rensink), rebuilt the theory of perception so it avoids the problem (Noe, O’Regan, A. Clark) or show the grand illusion isn’t really that grand, actually it’s modest and familiar one, but at the same time it teaches us a lot about the nature of visual perception (Cohen, Siewert, Mack).

9

Czy hipoteza Wielkiej Iluzji jest problemem dla teorii percepcji?

75%

Szymańska K.

Analiza i Egzystencja. Czasopismo Filozoficzne

|

2011

|

issue 16

27-40

EN

An argument from illusion assumes that the illusion occurring in perception is a reason to redefine the ordinary account of perception as a direct and immediate access to reality, therefore it suffice to refute a direct realism. Many theories of perception where arisen to address the problem, the most popular ones are: the sense-datum theory, the adverbial theory, the intentionalist theory and the most recent the disjunctivist theory. Recent work in psychology and philosophy of mind on change blindness and related phenomena elicit a new skepticism about the nature of perception which is called a grand illusion hypothesis. It seems that doubts engendered by this hypothesis goes even further than those of the argument from illusion, because it suggests that subjects have a radically false beliefs about what their perceptual experience is like. I ’d like to consider the number of ways of understanding the hypothesis and evaluate them. It seems that we have tree ways of coping with the grand illusion problem: accepting the new skeptic account (Dennett, Blackmore i Rensink), rebuilt the theory of perception so it avoids the problem (Noe, O’Regan, A. Clark) or show the grand illusion isn’t really that grand, actually it’s modest and familiar one, but at the same time it teaches us a lot about the nature of visual perception (Cohen, Siewert, Mack).

10

Quête de soi, quête du sens : alchimie et roman comique à la première personne dans Le Page disgracié et L’Autre Monde

75%

Gauthier P.

Academic Journal of Modern Philology

|

2020

|

vol. 9

255-263

EN

The Other World and Le Page disgracié (The Disgraced Page) occupy a singular place in the luxuriant seventeenth-century novel landscape on account of their first-person writing. In a process quite akin to the formative novel, the experiences of the “I” are stages in the construction of a meaning that is elaborated in the course of adventures rather than set as a goal to be reached. Meaning remains elusive, never predetermined, ravelled and unravelled as it is along with the episodes experienced by the narrator, regardless of whether those episodes are conveyed by the imagination of Cyrano or by the memory of Tristan’s experiences. No matter whether we are dealing with the most unbridled fantasies or autobiographical narrative, the route followed by the “I” is not oriented towards a goal that would make sense. Both texts call for alchemy, but the narrators do not make the quest for the philosopher’s stone the guiding thread of their narrative. Alchemy, described as a deception in Tristan and as an approach among others to the mysteries of the world in Cyrano, is presented as the touchstone of a possible decoding of the world, as the reign of illusion and, therefore, of the impossibility even to fix meaning. A pie-in-the-sky quest for meaning leading to a goal that does not exist (the two texts are abruptly interrupted), the formative novel finds a possible hermeneutic opening in the form of libertinism that forces one to play with meaning. Both works put sensual pleasure at the heart of the adventures lived by the characters and this rehabilitation of sensuality could offer itself as the key to a libertine strategy.

11

Pictorial Real, Historical Intermedial. Digital Aesthetics and the Representation of History in Eric Rohmer’sThe Lady and the Duke

75%

Tagliani G.

Acta Universitatis Sapientiae, Film and Media Studies

|

2016

|

vol. 12

|

issue 1

27-44

EN

In The Lady and the Duke (2001), Eric Rohmer provides an unusual and “conservative” account of the French Revolution by recurring to classical and yet “revolutionary” means. The interpolation between painting and film produces a visual surface which pursues a paradoxical effect of immediacy and verisimilitude. At the same time though, it underscores the represented nature of the images in a complex dynamic of “reality effect” and critical meta-discourse. The aim of this paper is the analysis of the main discursive strategies deployed by the film to disclose an intermedial effectiveness in the light of its original digital aesthetics. Furthermore, it focuses on the problematic relationship between image and reality, deliberately addressed by Rohmer through the dichotomy simulation/illusion. Finally, drawing on the works of Louis Marin, it deals with the representation of history and the related ideology, in order to point out the film’s paradoxical nature, caught in an undecidability between past and present.

12

Złudne nieuwikłanie. III Rzesza w interpretacji antyfaszystowskiej — casus NRD

75%

Pietrzykowski S.

Studia nad Autorytaryzmem i Totalitaryzmem

|

2016

|

vol. 38

|

issue 3

75-99

EN

Antifascism, ahistoriographical doctrine formulated in the 30s of the twentieth century by G. Dimitrov, as aresult of the Soviet victory over the Third Reich acquired the status of official narrative in countries of the Communist Bloc. It played aparticular role in GDR as aprimary source of state’s legitimization, especially in the early postwar years. Relating on selected historical sources and extensive literature on this subject (to mention, among others, D. Diner, J. Herf, S. Kattago, A. Wolff-Powęska, K. Wóycicki, J. McLellan, M. Fulbrook) Iintend to capture the disingenuousness of East German antifascism. Making use of lies, illusion or denial, applying selectiveness on facts or specific way of their interpretation, the GDR authorities managed to integrate the society around apositive yet erroneous myth of victorious mass resistance of the German working class against fascism. What is more, such antifascism played adefensive supervisory function: „universalizing” the period of 1939–1945 as another stage of long-term rivalry between the proletariat and capitalists it discursively blurred the historical continuity between the GDR and the Third Reich, and sustained the illusion of lack of guilt for the Holocaust which actual (i.e. Jewish) specificity remained unrecognized.

13

Gothic Healing under the Mediterranean Sun: The Magus by John Fowles as a Gothic Novel

71%

Kowalcze M.

Tematy i Konteksty

|

2018

|

vol. 13

|

issue 8

507-521

PL

Celem niniejszego artykułu jest próba interpretacji powieści Johna Fowlesa Mag pod kątem obecnych w niej motywów gotyckich. Analizie poddane zostaną takie elementy konwencji gotyckiej jak: teatralność wydarzeń, motyw szaleństwa czy kwestia tłumionej seksualności. Autorka pragnie zwrócić uwagę na nieodzowny dla stylu gotyckiego element lęku, który w powieści pełni funkcję terapeutyczną. W powieści granica pomiędzy racjonalnym i irracjonalnym zostaje zatarta do tego stopnia, że główny bohater nie jest w stanie stwierdzić, czy wydarzenia, które mają miejsce w mrocznym domostwie tytułowego maga, dzieją się w rzeczywistości, czy też są dziełem jego omamionej śródziemnomorską rzeczywistością wyobraźni. Towarzyszący doświadczeniom Nicholasa strach ostatecznie uzdrawia zgorzkniałego mężczyznę ze stanu apatii i upośledzenia emocjonalnego.

EN

The present paper aims at interpreting the novel The Magus by John Fowles within the framework of the Gothic genre. The argument shall be founded on a close analysis of chosen characteristics of the Gothic convention which can be identified within the text, such as the theatricality, the motif of insanity, as well as the issue of repressed sexuality. It shall also be argued that the novel presents the therapeutic role of fear, intrinsically linked to the Gothic mode of expression. The boundary between the rational and the irrational is suspended to the point that the protagonist is unable to tell whether the apparitions he sees in the Magus’s shadowy estate are of supernatural provenance or they constitute mere figments of his imagination deluded by the elements of the Mediterranean ambience. Remarkably, it is the experience of terror that ultimately heals Nicholas, an embittered and disillusioned young man, from the state of apathy and emotional handicap.

14

Straszliwa chęć uwiecznienia, czyli o sztuce portretowej w kontekście opowiadania Gustawa Herlinga-Grudzińskiego Portret wenecki

63%

Michniewicz A.

Prace Literaturoznawcze

|

2014

|

issue 2

251-260

EN

In his short story Venice Portrait Gustaw Herling-Grudziński ponders over portrait art of Lorenzo Lotto whom he regards as the creator of psychological portrait in painting. Not only does he mention genuine paintings of Lotto, but he also manages to apply elements of an iconographic code in a work of literature and to create an illusion of a non-existent painting. The Polish word "portret" and the Italian word "ritratto" is derived from the Latin verb "trahere" which signifies activities connected with extracting or retrieving. But it may also mean "to leave a trace", "continue", "survive". Therefore, portrait art is also an attempt at overcoming time, perpetuating the reality.

15

Image spaces. Digital visual media in the context of baroque mural painting in architecture

63%

Drozdowicz P. P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2021

|

vol. 29

|

issue 38

249-254

EN

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

16

Nietzschego koncepcja „pędu do metafory” a szczęście

63%

Lerka T.

Amor Fati

|

2015

|

issue 1

15-28

EN

The article deals with the idea of the drive toward the formation of metaphors, which comes from the essay „On Truth and Lies in an Extra-Moral Sense”, written by Friedrich Nietzsche in 1873. My thesis is that the rush to metaphor is necessary for the sense of happiness. By using the drive toward the formation of metaphors, humani-ty created the whole world of concepts. Because of that, the drive toward the formation of metaphors needs an-other channel for its activity. It finds this in myth and in art. Myth (generated by drive toward the formation of metaphors) today, as unlike in Ancient Greece, which is mentioned by Nietzsche, is forced to act more secretly. Two of its manifestations are the social networking service Facebook and the phenomenon of celebrities. My argument to prove the thesis is a thought experiment, which I called „schedule of life”. An example of a "schedule of life" is the case of a prisoner sentenced to death.

17

The antitheatrical discourse in Ukrainian metadrama in the early twentieth century

63%

Kocherga S., Visych O.

Przegląd Wschodnioeuropejski

|

2020

|

vol. 1

251-259

EN

The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antitheatrical prejudice in the context of the theory of metadrama as one of its factors. Artistic interpretation of the theater in an ironic or farcical vein, discussions over the repertoire that is no longer relevant, the aesthetic nature of stage technique, and discredit of acting as an occupation all generally encourage dramatic conventionality to double. Most common metadramatic devices used to implement antitheatricality in Ukrainian drama are believed to include a play within a play, adaptation of spectator’s reception for stage, and intertextual references.

18

Obraz iluzjonisty w prozie Michaiła Szyszkina na tle tradycji literatury rosyjskiej

63%

Tyszkowska-Kasprzak E.

Roczniki Humanistyczne

|

2018

|

vol. 66

|

issue 7: Słowianoznawstwo

139-159

EN

The article is devoted to the image of an illusionist in the prose of Mikhail Shishkin. This figure appears in all of his main novels: The Taking of Izmail (2000), Maidenhair (2005), and The Light and the Dark (2010). Shishkin often links illusionistic art with the figure of a child whose trust makes him believe in the possibility of the world being shaped by an artist, a human being. In the works of Shishkin, the figure of an illusionist appears in reference to the Platonic tradition, in the context of creative activities associated with the divine creation of the world (the triad illusionist-writer-Creator). Therefore, this figure often appears as a metaphor of the author of the text, who also has the ability to create something out of nothing, to make something disappear or change. Moreover, Shishkin’s prose includes the theme of unreality and trickery of the actions of both illusionists and creators. Still, Shishkin emphasizes that the writer’s responsibility is not to report reality but to present it in a way which gives the recipient hope.

PL

Artykuł traktuje o obrazie iluzjonisty w prozie Michaiła Szyszkina. Postać magika pojawia się we wszystkich głównych powieściach pisarza: Zdobycie twierdzy Izmaił (2000), Włos Wenery (2005), Nie dochodzą tylko listy nienapisane (2010). Szyszkin często wiąże sztukę iluzjonistyczną z dzieckiem, któremu ufność pozwala wierzyć w możliwość kształtowania świata przez artystę, człowieka. Magik w twórczości Szyszkina pojawia się w nawiązaniu do tradycji platońskiej, w kontekście działań twórczych, które z kolei kojarzone są z boską kreacją świata (triada Stwórca – iluzjonista – pisarz). W związku z tym postać iluzjonisty często występuje jako metafora autora tekstu – on też ma zdolność tworzenia czegoś z niczego, sprawia, że coś może znikać, czy ulegać przemianom. Pojawia się też w prozie Szyszkina myśl o nieprawdziwości, złudności działań zarówno iluzjonistów, jak i artystów, jednak podkreśla on, że zadaniem pisarza nie jest relacjonowanie rzeczywistości, lecz takie jej ukazanie, które daje odbiorcy nadzieję.

19

Migracje iluzji w pejzażu estetycznym

63%

Lipiński K.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

|

2018

|

vol. 101

|

issue 2

193-201

20

Magična moćmaski kao paradigma iluzije stvarnosti u drami Ive Vojnovića „Maškarate ispod kuplja”

63%

Pivac A.

Poznańskie Studia Slawistyczne

|

2013

|

issue 4

EN

The present paper analyses Ivo Vojnović’s drama Maškarate ispod kuplja by intending to emphasize the importance of carnival masks considered as instruments of liberation of individuals from social conformism. The protagonists of Vojnović’s Maškarate show their non-conformist faces and experience freedom only incarnival season. The carnival is described as the allegory of surreal and phantasmagoric world displaying pseudo-realistic situations that represent the deformed face or, rather, the alter of the masked reality. Masks are, therefore, perceived as shields from the frustrating reality and external influences, whereas life under masks is understood as the perfect model of concealing internal weaknesses and insecurities. The enchanting carnival atmosphere enables the protagonists to openly show the suppressed personality and personal choices. The clear model of searching for the illusion of the truth and the truth of the illusion is also shown, notwithstanding the complicating conditions of the emotional world of the protagonist-symbol who creates false identity provoked and conditioned by external factors. The influence of the Italian grotesque theatre has been reported as well, whereas the similarities have been perceived in particular in the behavioral pattern of the protagonists and perception of time and place as metaphysical categories. The determination of the level of interdependence between the Croatian author and the Italian role models has also been possible. The comparison with the Italian literary contemporaries has been performed by examining the intertextual correspondences in particular related to the selection of the „carnivalesque” motives.

Refine search results

Druže Tito svi smo mi – ti

Lalka i nieobecność. Kilka uwag o bohaterach Wampira Władysława Stanisława Reymonta

The Tension Between Illusion and Reality in Zhuangzi’s ‘Dream of the Butterfly.’ Philosophical Analysis of Western Reception

Can cigarette smoking make a man appear sexier and stronger to women?

S.N.U.F.F.: człowiek w pułapce symulakrów (postmodernistyczna koncepcja Wiktora Pielewina)

Is reality really real or is it just a colorful rainbow of sensations that we perceive as being real?

Teresa, Giacinta i Helena – włoskie siostry Emmy, czyli „Pani Bovary” Gustave’a Flauberta w literaturze włoskiej XIX wieku

Czy hipoteza Wielkiej Iluzji jest problemem dla teorii percepcji?

Czy hipoteza Wielkiej Iluzji jest problemem dla teorii percepcji?

Quête de soi, quête du sens : alchimie et roman comique à la première personne dans Le Page disgracié et L’Autre Monde

Pictorial Real, Historical Intermedial. Digital Aesthetics and the Representation of History in Eric Rohmer’sThe Lady and the Duke

Złudne nieuwikłanie. III Rzesza w interpretacji antyfaszystowskiej — casus NRD

Gothic Healing under the Mediterranean Sun: The Magus by John Fowles as a Gothic Novel

Straszliwa chęć uwiecznienia, czyli o sztuce portretowej w kontekście opowiadania Gustawa Herlinga-Grudzińskiego Portret wenecki

Image spaces. Digital visual media in the context of baroque mural painting in architecture

Nietzschego koncepcja „pędu do metafory” a szczęście

The antitheatrical discourse in Ukrainian metadrama in the early twentieth century

Obraz iluzjonisty w prozie Michaiła Szyszkina na tle tradycji literatury rosyjskiej

Migracje iluzji w pejzażu estetycznym

Magična moćmaski kao paradigma iluzije stvarnosti u drami Ive Vojnovića „Maškarate ispod kuplja”